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Crimes of the russian occupiers against the cultural heritage of Mariupol 俄罗斯占领者对马里乌波尔文化遗产的罪行
Pub Date : 1900-01-01 DOI: 10.34079/2226-2849-2022-12-23-36-45
O. Demidko
The article outlines the crimes of the Russian occupiers against the cultural heritage of Mariupol. The norms of international humanitarian law, which protect cultural values during military operations, are analyzed. The autor explains that the parties to the conflict are obliged to respect and protect them, prohibit, warn and stop any acts of theft, robbery or misappropriation of cultural values in any form, as well as any acts of vandalism. The characteristics of the most damaged or completely destroyed architectural monuments of Mariupol are given. The paper emphasizes that the only cultural institution preserved in the city is the famous Mariupol Chamber Philharmonic, which has become a refuge for Mariupol residents thanks to the dedication and daily work of its director, Honored Artist of Ukraine, chief conductor of the Mariupol Municipal Chamber Orchestra «RENASSIN» Vasyl Kryachko. The autor indicates that restitution is the main means of compensation for damage caused to cultural heritage and cultural values as a result of violation of international norms during the armed conflict. The task of restitution is not just to return individual cultural values and compensate for the damage, but also restore the cultural objects as an integral cultural heritage of the nation and the state. The second form of restitution is related to the replacement of cultural values with similar objects lost as a result of hostilities. Thus, on March 21, 2022, the building of the Arkhip Kuindzhi Art Museum in Mariupol was destroyed by a direct hit from an air bomb of the Russian occupiers. The aggressor state is responsible for this. That is why the Russian Federation should hand over masterpieces similar to the lost ones from its collections to Ukraine and reimburse the cost of the destroyed museum premises or build a new one. The study makes it possible to conclude that restoration of cultural heritage and return of cultural values will become an important task of the state and society after the victory of Ukraine. Ukrainian cultural heritage is part of the world cultural heritage, therefore, all the states of the world have an obligation to preserve and return it. The facts and patterns revealed as a result of the research can become the basis for further study of the war crimes of the Russian army against the cultural heritage of Ukraine.
文章概述了俄罗斯占领者对马里乌波尔文化遗产犯下的罪行。分析了在军事行动中保护文化价值的国际人道主义法准则。发件人解释说,冲突各方有义务尊重和保护它们,禁止、警告和制止任何形式的盗窃、抢劫或盗用文化价值的行为以及任何破坏行为。给出了马里乌波尔受损最严重或完全毁坏的建筑古迹的特征。论文强调,该市唯一保存下来的文化机构是著名的马里乌波尔室内爱乐乐团,由于其总监,乌克兰荣誉艺术家,马里乌波尔市室内乐团“RENASSIN”的首席指挥Vasyl Kryachko的奉献和日常工作,它已成为马里乌波尔居民的避难所。发件人指出,在武装冲突期间由于违反国际准则而对文化遗产和文化价值造成损害,赔偿的主要手段是恢复原状。复原的任务不仅仅是恢复个别的文化价值和赔偿损失,而是将文物作为民族和国家的整体文化遗产进行复原。第二种形式的归还是用在敌对行动中丢失的类似物品来取代文化价值。因此,在2022年3月21日,位于马里乌波尔的Arkhip Kuindzhi艺术博物馆大楼被俄罗斯占领者的空中炸弹直接击中。侵略国对此负有责任。这就是为什么俄罗斯联邦应该将其藏品中与丢失的作品类似的杰作移交给乌克兰,并偿还被毁博物馆房舍的费用或建造一座新博物馆。通过研究可以得出结论,恢复文化遗产和文化价值的回归将成为乌克兰胜利后国家和社会的重要任务。乌克兰文化遗产是世界文化遗产的一部分,因此,世界各国都有义务保护和归还它。研究结果揭示的事实和模式可以成为进一步研究俄罗斯军队对乌克兰文化遗产犯下的战争罪行的基础。
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引用次数: 0
The festival as a convivial cultural practice 这个节日是一种欢乐的文化习俗
Pub Date : 1900-01-01 DOI: 10.34079/2226-2849-2022-12-23-27-36
Kateryna Haidukevych
The scientific research reveals the characteristics of the festival as a cultural form, defines its structure, functions and social purpose. General and special features of the festival as a festive practice are described (its purpose, ontological foundations, cultural potential). The research methodology focused on the systematic approach allowed to apply the comparative, historical and cultural, typological and analytical methods. The ability of the festival to improve social relations, smooth over difficulties and misunderstandings caused by intercultural diversity, create a single cultural space indicates that in the modern world the leading function of the festival is integration and differentiation. The study justifies that in order to initiate systematic festival practices in territorial communities one should take into consideration the following factors: the significance of the cultural potential of the festival; the ability of cultural practices to influence the economic situation of the settlement; the impossibility to realize the festival potential without the support of the government and understanding the importance of culture as social capital by its representatives; the co-ordination of common interests between the cultural and artistic environment and the local community; having a common understanding of social and cultural problems and ways to solve them. The author proves that the festival, forming an open symbolic and cultural space for dialogue, acts as a «cultural mediator» between different social groups of society. The implementation of communicative, educational, entertainment functions and the function of a direct participation contributes to achieving the goal. In modern society, the festival is not only a powerful factor in strengthening social capital as such, which stimulates the economic, cultural, and educational development of the local community; the festival represents and, at the same time, produces patterns of cultural development for the near future. It creates its own cultural product, actualizing modern culture, as it combines different cultural practices in a single project.
科学研究揭示了节日作为一种文化形式的特征,明确了节日的结构、功能和社会目的。描述了节日作为节日实践的一般和特殊特征(其目的,本体论基础,文化潜力)。研究方法侧重于系统方法,允许应用比较,历史和文化,类型学和分析方法。节日改善社会关系、化解跨文化多样性带来的困难和误解、创造单一文化空间的能力表明,在现代世界,节日的主导功能是融合和分化。研究认为,要在地域社区开展系统的节日活动,应考虑以下因素:节日的文化潜力的重要性;文化习俗影响聚落经济状况的能力;没有政府的支持和文化节代表对文化作为社会资本的重要性的理解,文化节的潜力是无法实现的;协调文化艺术环境与社区的共同利益;对社会文化问题和解决问题的方法有共同的理解。作者证明,节日形成了一个开放的符号和文化对话空间,是社会不同群体之间的“文化调解人”。交际、教育、娱乐功能和直接参与功能的实现有助于实现这一目标。在现代社会,这个节日不仅是加强社会资本的一个强有力的因素,它刺激了当地社区的经济、文化和教育发展;这个节日代表了,同时也产生了未来文化发展的模式。它创造了自己的文化产品,实现了现代文化,因为它在一个项目中结合了不同的文化实践。
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引用次数: 0
Feminine aspect of the process of emancipation in the socio-cultural space of Ukraine during the period of independence 女性解放进程在乌克兰独立时期的社会文化空间
Pub Date : 1900-01-01 DOI: 10.34079/2226-2849-2022-12-23-85-96
T. Melnyk
The purpose of the work is to investigate and characterize the state of the issue of emancipation in the feminine aspect in the socio-cultural space within the boundaries of Ukraine during the period of independence. Ukraine's independence became a kind of "bifurcation point", marking a critical state in politics, ideology, and culture with the subsequent transition to another level of order in all spheres, including in the aspect of emancipation processes in the socio-cultural field. The situation of "conditional beginning" was deliberately chosen as the starting point when determining the chronological limits of the study, because it opens up prospects to trace the dynamics of qualitative reconstructions and transformations in the socio-cultural being, actualizing gender identification processes in society. The study of the outlined topic involves the use of the following research methods: historical and artistic analysis (for examining an array of scientific sources, studies of predecessors — scientists engaged in researching the issues related to the topic of our investigations - to study the stage of the development of the chosen topic); method of systematization (for a comprehensive understanding of the artifacts created in different types, genres, presented on different media, visual media, literary sources); the method of theoretical generalization (for a concise summary of the processed material). Methods of assumption and analogy, classification and other empirical and theoretical research methods were used as supplementary ones. The scientific novelty of the research lies in the fact that within the stated chronological period the author conducts a comprehensive exploration of the logic of changes in the understanding of feminine and masculine principles and the state of gender equality issues in Ukraine during the period of independence. In conclusion, the paper states that after gaining independence, the processes aimed at rejecting and condemning many aspects of the past, inspired by the European vector of the direction of the state's development, became widespread, which is also relevant for the present. They relate to aspects of gender equality, as well as the self-identification of a woman as a member of society and an active participant in socio-cultural processes. The statistics presented in the article indicate that, unfortunately, women are quite faced with oppression in various aspects, and also, they are the ones who still highlight this problem in the visual arts, realizing the desire to change the dichotomy "object-subject" in the aspect of female physicality . Positive developments in this field are characterized by changes in the language aspect, namely the appearance of feminitive and gender-tolerant vocabulary, as well as the spread of various art projects dedicated to this topic, described in the text of the study.
这项工作的目的是调查和描述独立时期乌克兰境内社会文化空间中女性解放问题的状况。乌克兰的独立成为一种“分岔点”,标志着政治、意识形态和文化的关键状态,随后在所有领域过渡到另一个层次的秩序,包括在社会文化领域的解放进程方面。在确定研究的时间界限时,特意选择了“有条件的开始”作为起点,因为它为追踪社会文化存在的定性重建和转变的动态开辟了前景,实现了社会中的性别认同过程。概述主题的研究涉及使用以下研究方法:历史和艺术分析(用于检查一系列科学来源,研究前人-从事研究与我们调查主题相关问题的科学家-研究所选主题的发展阶段);系统化方法(全面了解不同类型、流派、不同媒体、视觉媒体、文学来源的作品);理论概括的方法(对加工过的材料进行简明概括)。假设类比法、分类法等实证和理论研究方法作为补充。该研究的科学新颖之处在于,作者在规定的时间范围内,对乌克兰独立时期女性和男性原则的认识变化的逻辑以及性别平等问题的状况进行了全面的探讨。最后,本文指出,在获得独立后,受国家发展方向的欧洲矢量的启发,旨在拒绝和谴责过去许多方面的进程变得普遍,这也与当前相关。它们涉及两性平等的各个方面,以及妇女作为社会成员和积极参与社会文化进程的自我认同。文章中的统计数据表明,不幸的是,女性在各个方面都面临着相当大的压迫,同时,她们也是视觉艺术中仍然突出这一问题的人,实现了在女性身体方面改变“客体-主体”二分法的愿望。这一领域的积极发展的特点是语言方面的变化,即女性和性别宽容词汇的出现,以及研究文本中描述的各种致力于这一主题的艺术项目的传播。
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引用次数: 0
Socio-demographic case study of the jewish community of Mariupol and Azov region during the pre-soviet period (based on the 1897 census) 前苏联时期马里乌波尔和亚速地区犹太社区的社会人口案例研究(基于1897年人口普查)
Pub Date : 1900-01-01 DOI: 10.34079/2226-2849-2022-12-23-166-177
I.H. Lukovenko
The article analyzes socio-demographic indicators obtained during the all-Russian population census in 1897, which characterize the socio-cultural aspects of the Jewish community of the Azov region and Mariupol. The share of the Jewish population in Mariupol was much larger than in the countryside. The urban population significantly prevailed over the rural population. Jewish and German agricultural colonies, as well as Ukrainian and Greek villages, were the centers of Jewish settlement in the countryside. The Jewish community of both the city and the countryside was predominantly young with a predominance of people of working and reproductive age. The identification of the Jewish community was determined by linguistic (Jewish language) and religious (Judaism) characteristics. The number of followers of Judaism was greater than the number of speakers of the Hebrew language due to the fact that some Jews communicated in other languages, mainly Russian. The share of Russian-speaking people in the city was higher than in the countryside, due to the greater number of Russification factors in the city. The social structure of the Jewish community of the city of Mariupol was determined by the total predominance of the bourgeois component with an insignificant presence of others, in particular, the peasantry and merchants. The rural area was characterized by the predominance of peasant and bourgeois classes. The structure of professional activity basically repeated the one that the Jews brought from the towns - craft and trade activity. In the countryside, a significant layer of agricultural activity was added, and in the city, a variety of free professions (journalists, lawyers, doctors, education workers) were spread.
本文分析了1897年全俄人口普查期间获得的社会人口指标,这些指标反映了亚速海地区和马里乌波尔犹太社区的社会文化方面。马里乌波尔的犹太人口比例比农村大得多。城市人口明显多于农村人口。犹太人和德国人的农业殖民地,以及乌克兰和希腊人的村庄,是犹太人在农村定居的中心。城市和农村的犹太社区以年轻人为主,以工作年龄和生育年龄的人居多。对犹太社区的认同是由语言(犹太语言)和宗教(犹太教)特征决定的。犹太教信徒的人数比讲希伯来语的人数要多,因为一些犹太人用其他语言交流,主要是俄语。城市中讲俄语的人口比例高于农村,这是因为城市中的俄罗斯化因素更多。马里乌波尔市犹太社区的社会结构是由资产阶级占绝对优势的组成部分决定的,其他人的存在微不足道,特别是农民和商人。农村地区的特点是农民和资产阶级占主导地位。专业活动的结构基本上重复了犹太人从城镇带来的结构——工艺和贸易活动。在农村,农业活动增加了一个重要的层面,在城市,各种自由职业(记者、律师、医生、教育工作者)得到了传播。
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引用次数: 0
50 years of chronicle discourse of the department of event-industries, culturology and museum studies of Rivne state humanitarian university 里夫纳州立人道主义大学事件工业、文化和博物馆研究系50年纪事论述
Pub Date : 1900-01-01 DOI: 10.34079/2226-2849-2022-12-23-120-131
Juliia Sabadash, Y. Nikolchenko
Peer-reviewed monograph "Higher Cultural Education in Ukraine: Regional Discourse (through the prism of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities)", prepared for publication by Doctor of Cultural Studies, Professor, Professor of the Department of Event Industry and Culture Vytkalov, is the first attempt in domestic historiography to comprehensively study the system of higher cultural education in Ukraine, based on 50 years of experience of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities, formed in 1971 within the Rivne Faculty of Culture and Education of the Kyiv State Institute of Culture, and later (since 1979) - Rivne State Institute of Culture and (since 1998) - in RDGU. The use of historical-analytical method, system-functional approach and network analysis allowed the author of the monograph to comprehensively analyze the trends in the development of higher cultural education in the western region of Ukraine in its historical retrospective. In a highly professional clarification of the essence of educational and scientific activities of the staff of the department for 50 years, the author originally used the form of the Chronicle as a traditional method of phased coverage of events. This is a complete picture of the directions and effectiveness of its work not only in the system of higher cultural education in Ukraine, but also the development of culture and art in Volyn, Zakarpattia, Ivano-Frankivsk, Lviv, Rivne, Ternopil, Khmelnytsky, Chernivtsi regions provided by the graduates of the department according to the state order. The monograph will be useful for scientists, students, cultural workers; it is a significant contribution of the lecturers of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities to the development of Ukrainian cultural studies.
同行评议专著《乌克兰高等文化教育:地区话语(通过里夫纳州立人文大学事件产业、文化研究和博物馆研究系的棱镜),由文化研究博士、事件产业和文化系教授维特卡洛夫准备出版,是国内史学上第一次全面研究乌克兰高等文化教育体系的尝试,基于事件产业系50年的经验。Rivne州立人文大学的文化研究和博物馆研究,1971年在基辅国立文化学院的Rivne文化和教育学院内成立,后来(自1979年起)- Rivne州立文化学院和(自1998年起)- RDGU。作者运用历史分析法、系统功能分析法和网络分析法,对乌克兰西部地区高等文化教育的发展趋势进行了全面的历史回顾分析。在对该部门50年来工作人员的教育和科学活动的本质进行高度专业的澄清时,作者最初使用了《纪事报》的形式作为分阶段报道事件的传统方法。这是一个完整的画面,它的工作方向和有效性,不仅在乌克兰的高等文化教育系统,而且在沃林,扎卡尔帕蒂亚,伊万诺-弗兰科夫斯克,利沃夫,里夫纳,捷尔诺波尔,赫梅利尼茨基,切尔诺夫齐地区的文化和艺术的发展,由该部门的毕业生根据国家命令提供。这本专著对科学家、学生、文化工作者都很有用;这是里夫纳州立人文大学事件工业、文化研究和博物馆研究系的讲师对乌克兰文化研究发展的重大贡献。
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引用次数: 0
Music industry of Ukraine during the war 战争时期乌克兰的音乐产业
Pub Date : 1900-01-01 DOI: 10.34079/2226-2849-2022-12-23-149-155
Karina Fedosenko
The music industry consists of a number of components - the production of new products, their circulation in the media and the implementation of concert activities. Usually the process of producing musical products went through such stages as writing compositions, creating arrangements for them, performing at concerts and finally recording songs in studios. Subsequently, there was a tour, which could increase the ability to effectively implement the already finished musical product. As a result of the military events taking place in Ukraine, the modern domestic music industry, in which various forms of musical production and performing activities were presented, is currently in a state of significant transformational changes. As a result of active hostilities on the Ukrainian territory, there was a need to find new formats of implementation, first of all, concert activities. The representatives of Ukrainian show business have developed new strategies for promoting their performance. Firstly, the practice of holding concert events abroad with the participation of Ukrainian performers has spread. Events combining offline and online performances have also been introduced. There has been a practice of using such locations as the subway for concert activities, which, due to its characteristics, has an increased level of security in the event of the threat of artillery fire and missile strikes. Spontaneous open-air concerts, organized for charitable purposes, have also spread. The release of musical products continues, but the content of the musical content has acquired a more patriotic-tinged character and taken high positions in the charts, ratings, etc. The author states that some compositions have acquired the meaning of peculiar symbols of the struggle of the Ukrainian people for their independence. Their numerous performance versions, in which Ukrainian and Western musicians took part, have acquired the status of "viral". This was facilitated by the creative collaborations of foreign performers with Ukrainian musicians. The goal of creative cooperation was to show support for the Ukrainian people, express it in musical form. Such actions are extremely important, and various musicians have demonstrated solidarity with the Ukrainians. All these factors have a fleeting effect on the increase of interest in the Ukrainian cultural product, support of the music industry. At the same time, they perform the role of psychological support. Key words: music industry, music product, concert, rating, war, Ukraine.
音乐产业由许多组成部分组成-新产品的生产,在媒体上的流通以及音乐会活动的实施。通常,制作音乐产品的过程要经历如下几个阶段:作曲、编曲、音乐会演出,最后在录音室录制歌曲。随后进行巡回演出,可以增加有效执行已经完成的音乐产品的能力。由于乌克兰发生的军事事件,现代国内音乐产业,其中各种形式的音乐制作和表演活动,目前正处于重大转型变化的状态。由于乌克兰领土上敌对行动频繁,有必要寻找新的执行形式,首先是协调一致的活动。乌克兰演艺界的代表已经制定了新的战略来促进他们的表演。首先,在国外举办有乌克兰表演者参加的音乐会活动的做法已经蔓延开来。还引入了线下和线上相结合的活动。有一种做法是利用地铁等地点举行音乐会活动,由于其特点,在受到炮火和导弹袭击的威胁时,这些地点的安全程度更高。以慈善为目的自发组织的露天音乐会也在蔓延。音乐产品的发行仍在继续,但音乐内容的内容却获得了更多的爱国主义色彩,并在排行榜、收视率等方面占据了较高的位置。发件人指出,有些作品具有乌克兰人民争取独立斗争的特殊象征意义。在乌克兰和西方音乐家的参与下,他们的众多演出版本已经获得了“病毒”的地位。外国表演者与乌克兰音乐家的创造性合作促进了这一点。创造性合作的目标是表达对乌克兰人民的支持,用音乐的形式表达出来。这些行动是极其重要的,许多音乐家都表现出对乌克兰人的声援。所有这些因素都对乌克兰文化产品的兴趣增加产生了短暂的影响,支持音乐产业。同时发挥心理支持的作用。关键词:音乐产业,音乐产品,演唱会,收视率,战争,乌克兰。
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引用次数: 0
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Bulletin of Mariupol State University Series Philosophy culture studies sociology
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